Actors can be very precious about their work and their scenes, but I think good actors have a strong understanding of narrative and are very often not as precious about that stuff. They just can't be because they understand what makes for a better film, and that it's the job of the actor to work toward that, and then if you want you can go to acting class or workshops. But making movies is not workshops.
Learn as much as you can. Take every opportunity to learn about writing, whether it's through classes, workshops, whatever is available to you. This may be difficult, because things like classes, workshops, writing programs, require time and money. But I say this honestly and somewhat harshly - if you're not willing to prioritize your writing, perhaps you should do something else?
Learn as much as you can. Take every opportunity to learn about writing, whether it's through classes, workshops, whatever is available to you. This may be difficult, because things like classes, workshops, writing programs, require time and money. But I say this honestly and somewhat harshly "" if you're not willing to prioritize your writing, perhaps you should do something else?
Another response to racism has been the establishment of unlearning racism workshops, which are often led by white women. These workshops are important, yet they tend to focus primarily on cathartic individual psychological personal prejudice without stressing the need for corresponding change in political commitment and action. A woman who attends an unlearning racism workshop and learns to acknowledge that she is racist is no less a threat than one who does not. Acknowledgment of racism is significant when it leads to transformation.
I think the problem I have with films is that, because there's so much hype around them, they become bigger than they should be, really. There are things that people do every day in their little workshops that they'll take to heaven with them. You've got to realise that it's not everything, making films.
Art itself cannot be taught, but craftsmanship can. Architects, painters, sculptors are all craftsmen in the original sense of the word. Thus it is a fundamental requirement of all artistic creativity that every student undergo a thorough training in the workshops of all branches of the crafts.
Around 2005, the Canadian army tapped me to do a dramatization for a series of foresight workshops they'd done. They had stacks of papers and needed it boiled down to something simple enough for a 4-star general to understand. We decided to do it as a story. That's how I created 'Crisis in Zefra.'
A reform in the system of criminal jurisprudence, by which the death penalty shall no longer be inflicted . . . and by which our so-called prisons shall be virtually transformed into vast reformatory workshops, from which the unfortunate may emerge to be useful members of society, instead of the alienated citizens they now are.
That's the beauty of the acting world. You can play so many different characters who know and do so many things that you have no idea about as yourself. So I'm a big fan of workshops and classes and learning new things because you can always apply it. It's your little supply bag of creativity. Keep filling it up.
My ma and pa are both very artistic, so I suppose it's in my blood. But my ma's the one who was into theater and such. I owe my love of it to her. If she didn't drag me to small community workshops when I was a wee little lad or exposed me to anything artistic for that matter, I wouldn't be who I am today.
Universities are renowned for their tolerance of unusual characters, especially if they show originality and dedication to their research. I have often made the comment that not only are universities a 'cathedral' for worship of knowledge, they are also 'sheltered workshops' for the socially challenged.
The point of diversity workshops, or multicultural talks, was not to inspire any real change but to leave people feeling good about themselves. They did not want the content of her ideas; they merely wanted the gesture of her presence. They had not read her blog but they had heard that she was a 'leading blogger' about race.
Chimamanda Ngozi Adichie
The Oldfields of the future are beyond hearing; they are shut up in the factories and the workshops, leading a rackety and mechanical existence, to the damage of their bodies and the peril of their souls, for the sake of an extra pound or so a week, which they promptly spend on mental or physical narcotics.
Somewhere between poetry and science, somewhere between heaven and earth, clairaudience is born. Clairaudience is the sweetest mystery any human being could ever experience. Fortunately, it is the most contagious, too. Most, if not all, of my students walk away with some level of clairaudience after spending three hours in one of my workshops.
A father of the church said that property was theft, many centuries before Proudhon was born. Bourdaloue reaffirmed it. Montesquieu was the inventor of national workshops and of the theory that the state owed every man a living. Nay, was not the church herself the first organized democracy?
James Russell Lowell
We must remember that God is not occupied with a grand toy of worlds and suns and planets, of attractions and repulsions, of agglomerations and crystallizations, of forces and waves; that these but constitute a portion of his workshops and tools for the bringing out of righteous men and women to fill his house of love withal.
There are as many routes to writing success as there are writers who got there. My advice, however, applies across the board: read widely, learn the craft by whatever means you can - workshops and writing programs are ideal, but even self-study can work - apply what you learn, and persevere.
As an undergraduate, I took two writing workshops taught by Elizabeth Hardwick. She was certainly a major influence, though more as a writer I greatly admired than as a teacher. As for other writers, I think it's safe to say that my work has been and continues to be influenced to one degree or another by every writer whose work I love and admire.
As I tell young people in workshops, 'It's your country. If you came here on the bottom of a slave ship, if your people came here seeking political freedom - however your folks got here - it belongs to you just as much as it belongs to anyone, so claim it. It's your birthright. America belongs to every person who is here.'
The craft of writing is all the stuff that you can learn through school; go to workshops and read books. Learn characterization, plot and dialogue and pacing and word choice and point of view. Then there's also the art of it which is sort of the unknown, the inspiration, the stuff that is noncerebral.
The mountains are fountains of men as well as of rivers, of glaciers, of fertile soil. The great poets, philosophers, prophets, able men whose thoughts and deeds have moved the world, have come down from the mountains - mountain dwellers who have grown strong there with the forest trees in Nature's workshops.
It all changed when I realized I'm not the only one on the planet who's scared. Everyone else is, too. I started asking people, Are you scared, too? You bet your sweet life I am. Aha, so that's the way it is for you, too. We were all in the same boat. That's probably what is so effective at our workshops. When I ask, Who else feels like this? the whole room of hands goes up. People realize they are not the only one who feels that way.
UNICEF is doing amazing things here. They're helping these groups of kids to be mine aware, and using drama and workshops to teach children in all of the schools in the area to be aware of mines and what to do if they find one, and if somebody's hurt, not to rush in - all of the essential things that kids need to know.
What I know is that if I was asked to teach mathematics in French for a week to young kids, I would do my homework and I think I could do a decent job. I don't think a degree in education would make me a better teacher. I sometimes teach in college. I don't teach for long periods of time, but I give workshops and I think I can communicate stuff. So, it's about communicating.
In a number of workshops, I have asked people whether they have had one or more experiences that they would identify as an experience of God and, if so, to share them in small groups. On average, 80 percent of the participants identify one or more and are eager to talk about them. They also frequently report that they had never before been asked that question in a church setting or given an opportunity to talk about it.
Marcus J. Borg
Where are these rational practices to be taught and acquired? Not within the four walls of a bare building, in which formality predominates... But in the nursery, play-ground, fields, gardens, workshops, manufactures, museums and class-rooms. ...The facts collected from all these sources will be concentrated, explained, discussed, made obvious to all, and shown in their direct application to practice in all the business of life.
I try to tell student writers to read as much as possible, not only literature but philosophy, theory, and to form obsessions. There's a big taboo in fiction creative writing workshops against using the self at all, and I think I try to encourage students to write the self, but to connect the self to something larger, which is to be this thinking, seeing, searching, eternally curious person, and that writing can come out of investigating and trying to understand confusion, and doubts, and obsessions.
Calvin's theocentric irrationalism eventually revealed itself as the cunning to technocratic reason which had to shape its human material. Misery and the poor laws did not suffice to drive men into the workshops of the early capitalistic era. The new spirit helped to supplement external pressures with a concern for wife and child to which the moral autonomy of the introverted subject in reality was tantamount.
Not only in antiquity but in our own times also laws have been passed...to secure good conditions for workers; so it is right that the art of medicine should contribute its portion for the benefit and relief of those for whom the law has shown such foresight...[We] ought to show peculiar zeal...in taking precautions for their safety. I for one have done all that lay in my power, and have not thought it beneath me to step into workshops of the meaner sort now and again and study the obscure operations of mechanical arts.
Not only in antiquity but in our own times also laws have been passed... to secure good conditions for workers; so it is right that the art of medicine should contribute its portion for the benefit and relief of those for whom the law has shown such foresight... [We] ought to show peculiar zeal... in taking precautions for their safety. I for one have done all that lay in my power, and have not thought it beneath me to step into workshops of the meaner sort now and again and study the obscure operations of mechanical arts.
With my union project in my hand, from town to town, from one end of France to the other, to talk to the workers who do not know how to read and to those who do not have the time to read....I will go find them in their workshops; in their garrets and even, if needed, in their taverns, and there, face to face with their poverty, I will compel them, in spite of themselves, to escape from this frightful poverty which is degrading and killing them.
We know from accounts of Rilke's life that his stay in Rodin's workshops taught him how modern sculpture had advanced to the genre of the autonomous torso. The poet's view of the mutilated body thus has nothing to do with the previous century's Romanticism of fragments and ruins; it is part of the breakthrough in modern art to the concept of the object that states itself with authority and the body that publicizes itself with authorization.
Read a lot. But read as a writer, to see how other writers are doing it. And make your knowledge of literature in English as deep and broad as you can. In workshops, writers are often told to read what is being written now, but if that is all you read, you are limiting yourself. You need to get a good overall sense of English literary history, so you can write out of that knowledge.
During the years I was on the board of directors of the National Organization for Women [chapter] in New York City, the most resistant audiences I ever faced in the process of doing corporate workshops on equality in the workplace were not male executives they were the wives of male executives. As long as her income came from her husband, she was not feeling generous when affirmative action let another woman have a head start vying for her husband's (her) income.
One thing, however, did become clear to him-why so many perfect works of art did not please him at all, why they were almost hateful and boring to him, in spite of a certain undeniable beauty. Workshops, churches, and palaces were full of these fatal works of art; he had even helped with a few himself. They were deeply disappointing because they aroused the desire for the highest and did not fulfill it. They lacked the most essential thing-mystery. That was what dreams and truly great works of art had in common: mystery.
We cannot educate white women and take them by the hand. Most of us are willing to help but we can't do the white woman's homework for her. That's an energy drain. More times than she cares to remember, Nellie Wong, Asian American feminist writer, has been called by white women wanting a list of Asian American women who can give readings or workshops. We are in danger of being reduced to purvey ors of resource lists.
Gloria E. AnzaldÃºa
I hate to be a nag, but you have got to read. Like most authors, I run creative writing workshops from time to time, and speak, when invited to writers' circles and at summer schools, and I'm continually amazed at the number of would-be writers who scarcely read. For ideas to germinate and proliferate there has to be fertile ground to sow them in, and for the ground to be fertile it must be mulched with observation, imagination, and other writing.
In the late 1600s the finest instruments originated from three rural families whose workshops were side by side in the Italian village of Cremona. First were the Amatis, and outside their shop hung a sign: "The best violins in all Italy." Not to be outdone, their next-door neighbors, the family Guarnerius, hung a bolder sign proclaiming: "The Best Violins In All The World!" At the end of the street was the workshop of Anton Stradivarius, and on its front door was a simple notice which read: "The best violins on the block."